‘Life Itself’ Roger Ebert doc offers insight, candor, inspiration

Billy Wilder doesn’t go for the obvious arc. He isn’t interested in the same things the characters are interested in. He wants to know what happens to them after they do what they think is so important. He doesn’t want truth but consequences. Few other directors have made so many films that were so taut, savvy, cynical, and, in many ways and tones, funny. …

Double Indemnity’ was his third film as a director. That early in his career, he was cocky enough to begin a thriller with the lines ‘I killed him for money – and for a woman. I didn’t get the money. And I didn’t get the woman.’ And end it with the hero saying ‘I love you too’ to Edward G. Robinson.”

Life Itself posterSo writes Roger Ebert (1942-2013), the Pulitzer-prize-winning film critic of the Chicago Sun-Times, in his book “The Great Movies.” If you knew Ebert mainly from his hugely successful and world-famous TV show “Two Thumbs Up” (co-starring Gene Siskel), it might surprise you to know quite what a prolific writer he was. He published more than 20 books as well as many collections of reviews. (He started at the Sun-Times in 1966.)

Ebert used his staggering intelligence and covert sensitivity to get under the skin of a movie, to approach a film as both a tenacious reporter and a Spartan poet –baldly pointing out flaws, rapturously praising beauty and incisively assessing the director, cast and crew. He also championed little-known filmmakers and obscure movies, including more than a few film-noir titles.

In 2002, Ebert was diagnosed with thyroid cancer and, though it was removed, his battles with cancer would continue over the next decade. Ebert took his health problems in stride, refusing to let his mighty passion wane.

But it wasn’t just movies that he was enthusiastic about. He was passionate about politics and social justice, sports and travel, and he was deeply devoted to his wife Chaz Ebert (a trial attorney whom he met in AA) and their family. In 2011, Ebert published “Life Itself: A Memoir,” which spurred director Steve James to make a movie about Ebert’s extraordinary life journey.

The result is a film that is engaging, entertaining, fiercely honest and truly inspiring.

“Life Itself” opens Friday in theaters, on iTunes and on Demand.

Film noir gem ‘Murder by Contract’ highlighted in new book

This summer, my friend Rob Elder released a new book (his sixth): The Best Film You’ve Never Seen: 35 Directors Champion the Forgotten or Critically Savaged Movies They Love.

As Roger Ebert put it: “How necessary this book is! And how well judged and written! Some of the best films ever made, as Robert K. Elder proves, are lamentably all but unknown.”

It’s a great read and an invaluable reference tome for any serious film lover. To give you an idea of the treasures you will discover, Rob has kindly agreed to let me run an excerpt of the chapter in which he discusses “Murder by Contract” (a taut and chilling film noir) with director Antonio Campos.

Murder by Contract
1958, Directed by Irving Lerner. Starring Vince Edwards, Phillip Pine and Herschel Bernardi.

Claude (Vince Edwards) is an unusual hit man. He wasn’t born to the life, but instead he made himself a resourceful, calculating contract killer with an existentialist worldview. “He is so committed to his point of view and his philosophy that he’s developed—you respect that,” says Antonio Campos, who champions Murder by Contract. Campos praises the stylized off-camera hits, the economy of shots, and Edwards’s lead performance in this B-level noir film, shot in eight days.

That’s not to say he thinks it’s a perfect film. “What’s also charming about the film is that it is kind of a diamond in the rough,” Campos says. “Whatever rough edges Murder by Contract has are ultimately completely overshadowed by the brilliant dialogue and the commitment to a tone that was so ballsy.”

Antonio Campos, selected filmography:
Afterschool (2008), Simon Killer (2012)

Robert K. Elder: How would you describe Murder by Contract to someone who’s never seen it?
Antonio Campos: It’s a faithful noir film about a contract killer, from a time when not many films were made like that.

What made it special?
Campos: I remember vividly, I’d seen it at the Film Forum, and I remember feeling like I hadn’t seen anything like that in the program, and also I’d never seen anything like that outside of even contemporary film. Obviously there are contract-killer films now, but there was something about it, and the lightness, the light touch that it had, that really struck me as something very unique.

Let’s talk about the star, Vince Edwards, who was best known as the lead in TV’s hospital drama Ben Casey. Can you talk about him as a leading man?
Campos: The first time I ever saw Vince Edwards was in Stanley Kubrick’s The Killing (1956). And I think he’s one of these B actors from that period. I was thinking about Vince Edwards and I was thinking about Timothy Carey in The Killing—they’re very specific kind of actors but could never be the classic leading man. Vince Edwards could be the leading man in that film, but he couldn’t be—he would never be—the movie star that he probably wanted to be. And I find those kinds of actors fascinating.

What does Edwards do in this role that makes him so magnetic, that pulls us through the film?
Campos: It’s his charisma as an actor. As a character, it’s the fact that he believes in something. As fickle as it may be, he has this amazing control. He is so committed to his point of view and his philosophy that he’s developed—you respect that.

If the film was made today, you’d have a little bit more violence to make the character a little more complex. You’re kind of rooting for him from the beginning.

Claude (Vince Edwards) is misanthropic but he has a heart and certain principles.

This is Edwards’s first film with Irving Lerner, a former documentarian, and shot in eight days.
Campos: What I find really interesting is that it isn’t a perfect film. It’s not a film that you watch and you think, “This guy is some brilliant unknown director!” What’s interesting is, for example, the first scene where Claude meets the character of Mr. Moon, that long shot that plays out. That felt like a very strong choice. It felt like Irving Lerner was in complete control of the way this film was made.

In Afterschool, many of your characters are also kept out of frame, especially in that first twenty minutes. Am I right to draw that parallel to Murder by Contract?
Campos: It wasn’t necessarily a direct influence. There was a certain kinship, I felt, with the way that he was approaching his composition.

My feeling about offscreen action and that fragmentation of characters is that you heighten the mystery and the tension because you’re holding back someone who feels very important to the story. Those moments in which the characters are offscreen or, for lack of a better word, decapitated by the frame, you almost make the universe of the film larger. In terms of Afterschool, you always felt like there was a bigger world outside of the frame that you wanted to see and also a bigger world outside of the frame that you couldn’t see. That, to me, is one of the things that can make a smaller film or a lower-budget film feel bigger.

Claude’s solitary nature is similar to Travis Bickle’s loner life in “Taxi Driver” by Martin Scorsese.

And one of the other parallels is the solitary nature of Vince’s character, especially inside his room—something it shares with the protagonist in Afterschool. Was that sequence influential?
Campos: Murder by Contract definitely could’ve played a sort of subconscious influence on me. I find that there are the filmmakers whose body of work I’ve become very familiar with, but then I’m aware of them influencing me. And then there are those one-off films that I see that subconsciously have made a greater effect on me that I don’t realize.

That particular sequence also influenced Martin Scorsese. Lerner’s austere training montage is reflected in Taxi Driver.
Campos: For Claude, it’s a job, and he’s had to train himself. He says many times that this is not the way he was born. He’s developed a certain coldness intentionally so that he can be a contract killer. Obviously, film noir was so much about antiheroes, and this is about someone who is a very cold-blooded killer and so calculated. The other thing that struck me is his point of view of the world that was quite misanthropic and quite cynical, but at the same time, he had a heart and he had certain principles that he was struggling with.

Why do you think we, as viewers, are drawn to the charismatic psychopath or sociopath?
Campos: We’re drawn to them when they’re done a certain way. Taxi Driver, for example, has Travis Bickle, and Bickle is the charismatic sociopath. At first, you sympathize with the fact that he is so disconnected and confused.

I don’t feel like they’re completely sociopaths. They have sociopathic tendencies or something, but deep down inside, there is a heart and humanity. [Read more…]

FNB writer Michael Wilmington wins Golden Ciupaga award

From left: Sebastian Jankowski, director of the Polish Film Festival in Madison, Wis., Michael Wilmington and the Polish Film Festival in America’s Anna Maria Gliszczynska.

Exciting news from Chicago: the Polish Film Festival in America has honored contributing FNB writer Michael Wilmington with the Golden Ciupaga award for his contribution to the promotion of Polish film in the United States. Also honored was fellow film critic Zbigniew Banas. The awards were presented Nov. 20.

Now in its 23rd year under founder/director Christopher Kamyszew, the two-week festival typically features more than 70 features, documentaries and shorts, and draws Polish filmmakers from around the world. The fest attracts an audience of 35,000. Previous award winners include Roger Ebert; Piers Handling, head of the Toronto International Film Festival and Milos Stehlik, founder and director of Facets Multi-Media in Chicago.

Said Wilmington: “The Polish festival is a wonderful event. It opens up whole new worlds for its audience. This year, they brought one of 2011’s best movies, Agnieszka Holland’s brilliant ‘In Darkness’ and they brought Agnieszka too! I’m proud and very happy to accept this award.”

The intense-looking ciupaga signifies trailblazing achievement. “In Darkness,” a World War Two-era suspense drama set in Lvov, a German-occupied city in Poland, opens in the U.S. Dec. 9.

From left: Beata Banas, Michael Wilmington, Iwona Korzeniowska and Anna Maria Gliszczynska.

Holland received Academy Award nominations for “Angry Harvest” and “Europa, Europa.” The latter film won the Golden Globe for Best Foreign Film and the New York Film Critics Circle Award for Best Foreign Language Film.

She received an Emmy nomination for Outstanding Directing for the pilot of the HBO series “Treme,” and got critical praise for her work on “The Wire.”

Besides Chicago, a city with more than 1 million inhabitants of Polish descent, the PFFA hosts satellite screenings in Los Angeles, Houston, Seattle, Boston, Minneapolis and Rochester, N.Y.

FNB writer Wilmington wins Chicago journalism award

Michael Wilmington

I’m very pleased to share some exciting news. Contributing FNB writer Michael Wilmington has won a Peter Lisagor award for exemplary journalism from the Chicago Headline Club. Wilmington won in the arts reporting and criticism category for a non-daily publication, circulation less than 20,000. His “Front Row” DVD column runs in the Chicago Jewish Star, which is owned and operated by Doug and Gila Wertheimer.

“Thanks to the Headline Club and thanks to the Star – I love writing for them,” Wilmington told FNB. He also won a 1993 Lisagor as an individual critic for the Chicago Tribune and was part of a Tribune critics’ project that won a 2007 Lisagor.

Roger Ebert

Additionally, three veteran journalists received lifetime achievement awards. They are: Roger Ebert, film critic of the Chicago Sun-Times since 1967; Richard C. Longworth, who spent nearly 30 years at the Chicago Tribune as an economics reporter, business editor, chief European correspondent and senior writer; and Elizabeth Brackett, correspondent and substitute host for WTTW’s flagship public-affairs program Chicago Tonight.

The Chicago Headline Club is the country’s largest chapter of the Society of Professional Journalists. The club announced the winners of the 34th annual Lisagor awards Friday at Chicago’s Hotel Allegro.

‘The Third Man’ delivers stellar suspense, performances both haunting and dazzling

TCM’s Classic Film Festival starts tomorrow and I’m fretting about packing in all the viewing and events. Definite draws are the classic noirs “The Third Man,” which screens at 9 a.m. Saturday; Henry Hathaway’s “Niagara” from 1953, starring Marilyn Monroe, screening at 6:15 p.m. on Saturday; and “Gaslight” (George Cukor, 1944) showing at 9:30 p.m. Saturday. Other must-sees: Marlene Dietrich in “The Devil is a Woman” (Josef von Sternberg, 1935) at 10:15 p.m. Friday and “Citizen Kane” (Orson Welles, 1941) at 3:30 p.m. Saturday.

The Third Man/1949/(104 min. UK, 93 min. US)

Alida Valli and Joseph Cotten

If a city could be a femme fatale, it might be Vienna in “The Third Man” from 1949. The voiceover at the beginning of the film refers to “old Vienna with its Strauss music, its glamour and easy charm.” But new Vienna, a war-torn metropolis split into four Allied zones after World War Two, is a city living by its wits, host to a thriving black market. Hey, a girl’s gotta make a living somehow.

The voiceover also introduces us to a slightly naïve and completely broke newcomer to the hallowed city: Holly Martins (Joseph Cotten), an American writer of pulpy Western novels, who has come to visit his old friend and fellow Yank Harry Lime (Orson Welles), a sly operator.

Instead of a buddy reunion, though, Martins ends up at his friend’s funeral: Turns out Harry was hit by a car and has died. Also at the burial is the distinguished Major Calloway (Trevor Howard), who suggests they get a drink.

As they sip, Martins starts asking questions about Lime’s death and eventually suspects foul play. So, Martins hunts for more info and, along the way, he meets a handful of vaguely nefarious characters who traveled in Lime’s orbit: his porter (Paul Hoerbiger), “Baron” Kurtz (Ernst Deutsch), the Romanian known as Popescu (Siegfried Breuer), Dr. Winkel (Erich Ponto). One source he particularly likes is Anna Schmidt (Alida Valli), a sultry, cynical Czechoslovakian actress, who was also Lime’s lover.

What troubles Martins is learning that there were three men who carried Harry’s body from the street after he died, but he can only find two. Finding the mysterious third man drives the action, ultimately leading to a chilling chase through the dank sewers of underground Vienna.

Director/producer Carol Reed, working from a Graham Greene novel, draws us into a perfectly rendered world where tension and trouble pulse just beneath the surface, where anxiety and disillusion are tempered with fleeting pleasures and faded love. I love the details of everyday Viennese life: a moonfaced boy, an ancient balloon seller, a haggard landlady, a prowling cat and the forlorn-looking Teddy bears of the children’s hospital. The lecture hall scene reminds me of a similar passage in Hitchcock’s “The 39 Steps” from 1935. [Read more…]